“Breath And Imagination”: The Rediscovery Of Roland Hayes
Breath And Imagination is a musical, composed and written by Daniel Beaty, largely based on the...
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Musical Theatre
“On the Town” and the Long March for Civil Rights in Performance
In this blog post, Carol J. Ola, author or Bernstein Meets Broadway: Collaborative Art in a Time...
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“Fun Home”: An Extraordinary Musical
Fun Home, the multi-Tony award winning musical is making its Boston début at SpeakEasy and a fine...
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“The Prom” Is a Celebratory Trumpian Footloose When We Need It Most
Maybe “The Prom’s” greatest success, in all of its glitter and be gay, is a validation that splashy, garish musical comedies, themselves no champion of political correctness, can still be made from scratch. “The Prom,” exceptionally original yet cradled by tradition, is proof that bursting into jazz hands when someone puts you down is still a worthy prescription for joy.
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“Company” Review, Gielgud Theatre: “You Can’t Imagine It Being Staged Any Other Way Again”
This is a game-changer. “Radical update” is a phrase that is all too often bandied about in...
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Jonathan Kalb Interviews Himself On Daniel Fish’s “Oklahoma!”
Jonathan Kalb: So Jonathan, did you like the show? Jonathan Kalb: Can we come back to that,...
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From Idea To Page To Stage
The creators of #SingIndiaSing talk about what it takes to make a musical from the ground up The...
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Miguel Septién A Great Direction Of “Kiss Of The Spider Woman”: A Risky And Avant-Garde Proposal
Kiss Of The Spider Woman is splendidly directed by Miguel Septién, an excellent director who...
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Mark Sonnenblick And “Midnight At The Never Get”
Mark Sonnenblick is a composer, lyricist, and scriptwriter. His latest collaboration is Midnight...
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Shaina Taub’s “Twelfth Night” At The Young Vic
If music be the food of fun, play on! In fact, give me excess of it, surfeit even. If this is how...
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“The Last Five Years”: Poignant Tale Of Failed Marriage
From the joy of meeting to the unraveling of love and back again, The Last Five Years is a...
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Debris Stevenson’s “Poet In Da Corner” at The Royal Court
There was once a time when grime music was very angry and very threatening, but that seems a long...
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Akinori Nakagawa Captures Frankie Valli In “Jersey Boys”
Nothing sounds quite like the early 1960s more than the vocals of Frankie Valli. As lead singer of...
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“Heathers The Musical” Wildly Funny And In Deliciously Bad Taste
Heathers The Musical Theatre Royal Haymarket, London ★★★ On its release in 1989, Heathers was an...
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B+ For Broadway Across Canada’s “School Of Rock”
The great pity is that this high-energy rock musical is largely unintelligible. From flashing...
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“Oklahoma!” Is Still OK
I grew up on Oklahoma! Now, I’m not sure how many Millennials can share this feeling, but that was...
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“Me And My Girl,” Review: Matt Lucas’ Stand-In Provokes Frenzied Standing Ovation
When the first person to appear on stage is director Daniel Evans with a microphone in hand and...
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Bernstein In Flight And T.S. Eliot In Motion At Bard Summerscape 2018: An Interview With Gideon Lester
Gideon Lester is Artistic Director for Theater and Dance at the Richard B. Fisher Center for the...
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“Sa Wakas” – A Sugarfree-Inspired Rock Musical
Ina Abuan started off like any other big fan of Sugarfree, but when she was invited to co-author a...
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“Carmen Jones”: A Classic Reborn
It is then, a refreshing surprise – as New York theatre recovers from the inundation of Broadway super-musicals that were too big to succeed – that Carmen Jones has returned in a razor-sharp 95-minute John Doyle production at the Classic Stage Company.
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